The writers of the musical version of the charming French movie Amélie went forth to seek the promised land. But they did not heed the warnings of the prophets that it can be a challenging task to reinvent (rather than reproduce) a magical movie on the stage.
You should be so lucky as to be on a spaceship with Ethan Lipton. If you do take off into “The Outer Space”, now in residence at the Public Theater, the journey you will go on is a funny, insightful allegory of a couple who move away from the headaches and expense of a big city to the different headaches and challenges of relocating to a rural area for more affordable life.
Vocally, Ms. Collins is still a unique presence — she enters soprano ranges without ever sounding operatic. Notes dance, lyrics are separated interestingly for meaning and effect. Vocal choices draw you into the music and keep you transfixed.
Sitting in Cafe Carlyle, eating well, and sipping a drink is a quintessential New York experience from another era. Laughing with Ana Gasteyer and listening to her sing is — let’s do the time warp again — a modern pleasure. Putting those two together makes for a marvelous night in any year.
This musical has much to recommend it, but overall it is inconsistent as a work of art. It has charm and poignancy in places, but a corny, dated feel elsewhere.
Mike Birbiglia carves a niche by being an amiable “rambler” of a story teller. But make no mistake, this is a carefully crafted ramble where every destination is appealing and all roads eventually converge and lead to a satisfying destination.
Consistently funny, Zimmerman is most winning when telling the story of his decades-long career struggles and his relationship with his parents.
Barb Jungr bops back and forth with an impish grin to even the most depressing and occasionally inscrutable Bob Dylan lyrics, grooving not so much to his dark view of the world as his brilliance.
This is exactly what you should expect inside the Lyric Theater as well when you see “On The Town.” The whole show is a feast for the eyes and ears, a beautifully wrapped sweet.
What makes Mike Bencivenga’s script so engaging is that as he keeps us laughing, he deepens and broadens the story by giving us a sense of concentrically ever-larger circles: two men, Hollywood, the United States, and the world at the time.
Some theater performers are known as “triple threats”because they act, sing, and dance. Given that Melinda Buckley, an actor with Broadway credits (Crazy For You) and former ballet soloist, also writes brilliantly, perhaps she should be called a quadruple threat. But do not feel threatened, feel fortunate, because Miss Buckley brings her considerable wide-ranging talents to a marvelous new solo show, Mother. In Mother, Melinda Buckley...